Page 251 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

Imperial Taste, 83, number 51; 87, number 54. with inlaid decoration, the gilding emphasizing the
11. See Mowry, Handbook, 73, numbers 1979.160. outlines and other features of the inlaid deco-
1979.162; 75, number 1979.168; 1979.169; Percival David ration. Though unlikely, it is not impossible that
Foundation, Imperial Taste, 58-61, numbers 29-31; Korean celadons with overglaze gilding could have
12. See Mowry, Handbook, 82-83, numbers 1979.186, played some role in the creation of early Ming
1979.187, 1979.188, 1979.189; Percival David Founda- bronzes with gold-splashed decoration. For infor-
tion, Imperial Taste, 76-77, numbers 45-46; 82-89, mation on Koryo celadons with gilt decoration, see
numbers 50-56. Gompertz, Korean Celadon and Other Wares of
13. See Mowry, Handbook, 83, number 1979.189; the Koryo Period.
Lee, Asian Art, 60, number 43; Percival David Founda- 8. See Xuande yiqi tupu, volume 2, juan 13, 2-3
tion, Imperial Taste, 83-89, numbers 51-56. both recto.
9. Xuande yiqi tupu, volume 2,juan13,2-3 both verso.
10. See Watson, Tang and Liao Ceramics,
164, num-
34 ber 153; Nezu Institute of Fine Arts, Toji, 102, number
1. Traditional interpretation recounted by Yang 80. See also an unpublished eighth-century Tang
Boda, Deputy Director Emeritus of the Palace Muse- sancai jar with a blue-splashed white glaze in the
um, Beijing, during his visit to the Clague Collection Hofer Collection at the Harvard University Art
on 7 June 1992 (as translated by Kelly Tan). Museums (accession number 1967.44).
2. So-termed because they appear in Tang tombs 11. See Li Yihua, Gugong zhencang Kang Yong
in such abundance, occurring more than vessels of Q/'an ciqi tulu, 126, number 109.
any other vessel shape. 12. See Li Yihua, Gugong zhencang Kang Yong
3. See Sato and Hasebe, Zui To, 35, number 21; Qian ciqi tulu, 312, number 141.
67-71, numbers 48-51; 108, number 85; 119, number 13. See Li Yihua, Gugong zhencang Kang Yong
98; Watson, Tang and Liao Ceramics, 39, number Qian ciqi tulu, 266, number 95.
15; 74, number 45; 78, number 50; 110-12, numbers 14. Some gold splashes are unusually thick, for
79-82; 164-65, numbers 152-57; Valenstein, A Hand- example, indicating the possibility of repeated
book of Chinese Ceramics, 71, number 65; Medley, applications. In addition, the large splashes appear
The Chinese Potter, 83, number 55; 91, number 63; to adhere directly to the brassy metal fabric but a
Nezu Institute of Fine Arts, Toji, 30, number 19; 41, number of smaller ones seem to appear over the
number 36; 44, number 37;51 number 50. chemically altered brown surface, suggesting that
4. See Valenstein, A Handbook of Chinese Ceramics, the splashes may have been applied in a series of
129, number 123. gold-mercury amalgam applications.
5. See Mino and Tsiang, Ice and Green Clouds,
199, number 80; Mikami, Ryo Kin Gen, 52-53, num- 35
bers 39-40; 188, numbers 176-77.
6. The iron-brown splashes on qingbai ware were 1. See Kelley, Chinese Gold and Silver, 64, num-
no doubt inspired by those on Longquan celadon ber 30; Jenyns and Watson, Chinese Art: The Minor
ware. Long associated with the celadon tradition, Arts, 64, number 26.
iron-brown spots were first used on fourth- and 2. See Watson, Tang and Liao Ceramics, 18, num-
fifth-century celadons from the Yue kilns, some- ber 8; Sato and Hasebe, Zui To, 101, number 77;
times as touches of descriptive local color, to darken 103, number 79; Sato Masahiko, Hakuji (White Ware),
the eyes of a ram-shaped vessel, for example, and volume 37 in Toji taikei (A Compendium of Ceramics),
at other times as decorative elements in their own Tokyo: Heibonsha, 1975, plate 38; Henry Trubner,
right. Seldom used during the Northern Song period, The Arts of the Tang Dynasty, Los Angeles: Los
iron spots perhaps appeared on Longquan celadon, Angeles County Museum of Art, 1957, number 263.
the inheritors of the Yue tradition, under the influ- 3. A related porcelain bowl in the Percival David
ence of late Northern Song and Jin-period purple- Foundation, London, bears a mark dated to 1672, in-
splashed Jun ware. For examples of early Yue wares dicating that bowls of such shape were produced
with iron-brown splashes, see Okazaki, Chugoku during the Kangxi era.The David bowl has a pair of
kodai, 107, number 95; 227, number 230; Medley, The relief bands about its midsection, recalling the ridge
Chinese Potter, 69, number 45; d'Argence, Treasures encircling the Clague censer; differing from the pre-
from the Shanghai Museum, 158, number 57. sent piece,the David bowl has a flaring lip, expanding
7. It is well recorded that late in the Koryo dynasty walls, and squatter proportions. See Medley, Illus-
(918-1392), the rulers of Korea shipped celadons with trated Catalogue of Ming and Ch'ing Monochrome,
overglaze gilt decoration to Beijing as tribute to the 34, numberA532; plateVI, number A532.
Mongol emperors of China's Yuan dynasty. Few 4. It should be emphasized that although they
examples of Koryo celadons with gilding remain, so trace their lineage to Tang gold and silver, the
it is impossible to determine the appearance of small, covered incense boxes [numbers 11,13, and
the gilt decoration; it has always been assumed, 14] popular throughout the Ming and Qing are the
however, that gilding was used in combination products of a tradition that continued its evolution

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T H E R O B E R T II. C L A G U E C O L L E C T I O N